martha jackson-jarvis April 15 – May 30, 2010

Martha Jackson-Jarvis a mixed media artist,works with diverse materials such as

stone, tiles, glass, clay, cement, and steel.

Her work consists of site-specific installationprojects that incorporate the landscape and floor mosaics. She was born in Lynchburg, Virginia in 1952, but grew up in Philadelphia, Pennsylvania and currently lives in Washington, D.C. She received a Bachelor of Fine Arts from Antioch University and continued on to her Masters of Fine Arts

at the Tyler School of Art at Temple University. Jackson-Jarvis also studied mosaic techniques

and stone cutting in Ravena, Italy.

mosaic techniquesand stone cutting

Martha Jackson-Jarvis a mixed media artist,works with diverse materials such as

stone, tiles, glass, clay, cement, and steel.

Her work consists of site-specific installationprojects that incorporate the landscape and floor mosaics. She was born in Lynchburg, Virginia in 1952, but grew up in Philadelphia, Pennsylvania and currently lives in Washington, D.C. She received a Bachelor of Fine Arts from Antioch University and continued on to her Masters of Fine Arts

at the Tyler School of Art at Temple University. Jackson-Jarvis also studied mosaic techniques

and stone cutting in Ravena, Italy.

JACKSON-JARVIS

GATHERING SUMAC

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jackson-jarvis

Rainwater installation was created for the Honfleur Gallery Annual East

of the River Group Exhibition.The installation is highlighting arts and artists

centric to areas East of the Anacostia River in Washington, DC.

rhythms of water and translucent colors

Rainwater champions the primal replenishing source of energy of the Anacostia River. Towering Sumac saplings add shelter and structure that penetrate the architectural atrium of the gallery space, paying homage to the Nacotchtanke people who were famed traders along the banks of the ancient Anacostia.

Rhythms of water and translucent colors display the cascading layers which are anchored by medicine

bags of tears and rain in Anacostia.

Rainwater installation was created for the Honfleur Gallery Annual East

of the River Group Exhibition.The installation is highlighting arts and artists

centric to areas East of the Anacostia River in Washington, DC.

rhythms of water and translucent colors

Rainwater champions the primal replenishing source of energy of the Anacostia River. Towering Sumac saplings add shelter and structure that penetrate the architectural atrium of the gallery space, paying homage to the Nacotchtanke people who were famed traders along the banks of the ancient Anacostia.

Rhythms of water and translucent colors display the cascading layers which are anchored by medicine

bags of tears and rain in Anacostia.

rainwater

SUMAC SAMPLINGS,

PLASTIC SHEETS

WASHINGTON, D C .

2008

4

Surrounded by a wrought iron fence the sculpture incorporates

African symbols and four “bottle trees” that are embellished with brilliant

glass blue bottles. The space was filled with elaboratoral detailed, brightly colored

glass and ceramic mosaic pieces.

encrusted with shells,terra-cotta fish, andmosaic imagesTwo elongated closed house shapes, reflective of the shotgun-style houses found in this Charleston neighborhood, are encrusted with shells, terra-cotta fish, and mosaic images of rice plains and mosquitoes – animal and plant life indigenous

and important to the history of Charleston. Four large ceramic rain barrels were

covered with vibrant orange, red, blue mosaic tiles and

sculptural reliefs that shimmer in the sunlight.

Surrounded by a wrought iron fence the sculpture incorporates

African symbols and four “bottle trees” that are embellished with brilliant

glass blue bottles. The space was filled with elaboratoral detailed, brightly colored

glass and ceramic mosaic pieces.

encrusted with shells,terra-cotta fish, andmosaic imagesTwo elongated closed house shapes, reflective of the shotgun-style houses found in this Charleston neighborhood, are encrusted with shells, terra-cotta fish, and mosaic images of rice plains and mosquitoes – animal and plant life indigenous

and important to the history of Charleston. Four large ceramic rain barrels were

covered with vibrant orange, red, blue mosaic tiles and

sculptural reliefs that shimmer in the sunlight.

CONCRETE, GLASS

SHELL, CLAY, STEEL

10 1/2’ H x 24’W x 26’D

CHARLESTON, SOUTH CAROLINA

1997

6

rice, rattlesnakes & rainwater

Placed at the threshold between the field

and the forest, Crossroads marks a point that provides a transition

in experience for the Park visitor – from public to private, manmade to

natural, open to closed. The sculpture, a tall sentinel form, combines brightly

colored Italian glass tiles, carnelian stones, and shattered bricks (recycled from the Polk

Youth Correctional Facility, which was located on this property from 1920 to 1993) to create a densely patterned, textured mosaic surface.

Italian glass tiles,carnelian stones, and shattered bricks

The artist has described her use of the prison bricks as “time capsules,” a way of creating

a new work of art that speaks to the historical significance of this place.

The sculpture is closely connected to the surrounding landscape.

Placed at the threshold between the field

and the forest, Crossroads marks a point that provides a transition

in experience for the Park visitor – from public to private, manmade to

natural, open to closed. The sculpture, a tall sentinel form, combines brightly

colored Italian glass tiles, carnelian stones, and shattered bricks (recycled from the Polk

Youth Correctional Facility, which was located on this property from 1920 to 1993) to create a densely patterned, textured mosaic surface.

Italian glass tiles,carnelian stones, and shattered bricks

The artist has described her use of the prison bricks as “time capsules,” a way of creating

a new work of art that speaks to the historical significance of this place.

The sculpture is closely connected to the surrounding landscape.

crossroads

TERRACOTTA BRICK, STONE

GLASS, STEEL, MORTAR

23’H x 1/2’W x 3 1/2’D

RALEIGH, NORTH CAROLINA

2006

8

Music of the Spheres, commissioned by Fannie Mae,

is at the entrance to one of the company’s headquarters buildings

at the Fannie Mae plaza. Based on ancient theories of the harmony of universal order,

the installation encompasses the transitory and the landmark, providing a setting

conducive to purposeful contemplation for the students, commuters, and neighbors

who pass by.

myth, lore and science, the orbs inject a sense of the “other”

The spheres are composed of concreteevocatively and singularly encrusted with Indonesian jade pebbles,

cobalt blue vitreous glass tesserae, and carnelian stone. Through their

combination of myth, lore and science, the orbs inject a sense of the “other”

into the visual clash of signage, steel, glass, and heavy pedestrian

traffic that surrounds them.

Music of the Spheres, commissioned by Fannie Mae,

is at the entrance to one of the company’s headquarters buildings

at the Fannie Mae plaza. Based on ancient theories of the harmony of universal order,

the installation encompasses the transitory and the landmark, providing a setting

conducive to purposeful contemplation for the students, commuters, and neighbors

who pass by.

myth, lore and science, the orbs inject a sense of the “other”

The spheres are composed of concreteevocatively and singularly encrusted with Indonesian jade pebbles,

cobalt blue vitreous glass tesserae, and carnelian stone. Through their

combination of myth, lore and science, the orbs inject a sense of the “other”

into the visual clash of signage, steel, glass, and heavy pedestrian

traffic that surrounds them.

GLASS, CARNELIAN

JADE, STEEL, MORTAR

10’H x 60’W x 60’D

WASHINGTON, D.C.

2003

10

music of the spheres

Temple UniversityAntioch UniversityNational Endowment for the Arts, National Sculpture GrantNorth Carolina Department of Cultural ResourcesNorth Carolina Museum of Art Foundation, Inc.

www.ncartmuseum.org

2110 Blue Ridge Road

Raleigh, NC 27607

(919) 839-6262